Battlestar Galactica (Sci Fi)

Glen A. Larson, the creator of hit TV shows including Knight Rider and Magnum, P.I., has died, aged 77. Larson passed away at a hospital in Los Angeles on Friday (14Nov14) following a battle with cancer of the oesophagus.
He began his career as a singer in 1950s pop group The Four Preps and later moved into composing theme songs for TV shows.
Larson went on to work behind the scenes in TV and is best known for creating a string of popular series including with Alias Smith and Jones in the 1970s, sci-fi show Battlestar Galactica, and murder mystery Quincy, M.E., which ran for seven years until 1983.
His most successful creations including Magnum, P.I. starring Tom Selleck, Knight Rider with David Hasselhoff, The Fall Guy, about a stunt driver-turned-bounty hunter, and The Six Million Dollar Man TV movies, which later spawned the action series.
Hasselhoff paid tribute to Larson on Twitter.com, writing, "Condolences to Glen Larsons (sic) family. Friend/creator of Knight Rider. Had 7 TV series at one time! Without him there'd be no KITT & Michael."
Edward James Olmos, who starred as Admiral Adam in the 2004 Battlestar Galactica reboot series, adds, "Glen Larson, we thank you for the ride, you are battlestar, we will miss you. See you on the other side. #Sosayweall Admiral Adama."

A long-awaited movie version of Battlestar Galactica is back on track, five years after creator Glen A. Larson first began talks to adapt the cult sci-fi series for the big screen. Studio bosses at Universal Pictures originally picked up the rights for the original 1978 TV show in 2009, with X-Men director Bryan Singer attached to direct, but the project suffered a series of delays and went through a script rewrite in 2012.
Now Jack Paglen, the writer behind Johnny Depp's new film Transcendence, has been hired to pen the script, which will be a complete reimagining of Battlestar Galactica, according to Variety.com.
The TV series featured humans battling a cybernetic race known as Cylons in a distant universe.
Larson is still onboard to produce the film, although it is not yet clear whether Singer will also be involved.
Battlestar Galactica ran for just one season in 1978, and was subsequently revived for a short-lived sequel series, Galactica 1980. It was later rebooted for a series run in 2003 and ran for four seasons.

BBC America
If you haven’t heard of Orphan Black, our first question for you is, "What rock have you been living under?" The BBC America sci-fi series premiered roughly a year ago but it has acquired a cult following that could rival Battlestar Galactica fandom. From insisting the show’s star Tatiana Maslany was snubbed by both the Golden Globes and the Emmys to speading the word of the 10-episode first season to everyone and their mother, it’s been hard to escape the hype around Orphan Black.
Now that the show’s second season is about a month away from premiering, however, we need to talk about whether Orphan Black will suffer from a sophomore slump or come back better than ever.
The 30-second trailer, released by Space, recaps the first year effectively — and offers many words of praise given to Orphan Black during its debut season. However, for clips from the new season, it’s best to check out Orphan Black’s Instagram.
The short clips preview a new character, played by Michiel Huisman, as well as some new information about Rachel — the supposed original — through her interactions with Cosima and Paul. There will be changing loyalties, abductions, and hopefully some more answers about the mysterious illness that Katya introduced in Season 1.
It seems Season 2 will delve more into the biology and history of the clones, and hopefully we’ll get some answers to questions from the first season. Whether it will live up to the hype or not, we’ll have to wait and see, but we have faith that season two will be just as epic as season one.
And most importantly: Felix will return in all his snarky, hilarious glory. So season two of Orphan Black is bound to be amazing.
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The CW
One of the biggest draws in the first season of The CW’s Arrow — at least for some of us — was John Barrowman. Previously, Barrowman had played Captain Jack Harkness on Doctor Who, and then starred in the spinoff series Torchwood. Harkness was one of the best companions on Russell T. Davies’s reboot of Britain’s sci-fi series. Who didn’t love Captain Jack? He was snarky, flirty, and loved the Doctor as much as the fans. So it was nice to see Barrowman on another TV series after Torchwood ended.
But Barrowman isn’t the only science fiction veteran who has appeared on Arrow. The CW’s superhero series is quickly becoming the home of many actors who have starred on beloved cult sci-fi shows.
The beginning of Arrow’s second season welcomed Isabel Rochev, played by Summer Glau, and Assistant District Attorney Adam Donner, played by Dylan Bruce. Glau is a science fiction favorite because she was in Joss Whedon’s cult classic series Firefly, as well as the Terminator prequel show, The Sarah Connor Chronicles. Basically, she’s a butt-kicking wonder. Bruce, however, is new to sci-fi, starring in BBC America’s Orphan Black— though that doesn’t make him any less loved by fans of the clone series.
With the midseason premiere of Arrow, “Blast Radius,” fans of Firefly were given even more of a treat: Sean Maher guest-starred as Mark Sheffer, also known as Shrapnel.
We’re starting to wonder which of our favorites from sci-fi shows will be next to guest star on Arrow; Edward James Olmos from Battlestar Galactica or Anna Torv from Fringe are our picks.
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Showcase
If you take the police procedure of The Killing, the terrorist tension of Homeland, and the science fiction parables of Battlestar Galactica, you get Continuum. This series is so random you just can’t look away. It blends time travel, sci-fi crime-fighting, and political commentary without being too showy about it. It also manages to ground the characters in real emotions and smart science.
Kiera Cameron (Rachel Nichols) is just your average wife, mother and policewoman...in the year 2077. Corporations now control the government and police have unlimited surveillance of the people. Terrorist cell Liber8 travels back in time, bringing Kiera with them. Armed with brain implants, a super suit, and a couple of weapons, she tries to balance protecting the timeline, stopping the terrorists, and trying to get home. Her only allies are police detective Carlos Fonnegra (Victor Webster), and Alec Sadler (Erik Knudsen), an awkward 18-year-old who will invent a whole new realm of technology.
Continuum does the impossible. It manages to be smart and accessible. A major mystery of the series is whether the time travelers are changing the timeline or bringing it to fruition. Time travel is purely theoretical, so the show plays with what’s possible. It also opens up a dialogue about the role of corporations in our lives and our growing lack of privacy in the digital age.
Nichols' take on Kiera is unique. She’s not your typical sci-fi heroine. She’s maternal, sensitive, and sometimes, despite her advanced skills, gets knocked out by a perp. The reality of the series is what makes it so addictive. It focuses on relationships, emotion, and destiny while still providing some great action and futuristic fantasy. It also challenges the way we see science and society.
Canadian channel Showcase is making some really fun series. There's something intriguing and innovative about shows made outside of the Hollywood machine.
The first and second season of Continuum are available on Netflix. At 13 episodes each, they provide a nice marathon option for a winter weekend indoors.
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Paramount Pictures
Star Trek Into Darkness got solid reviews and banked a healthy, if slightly lukewarm, $226 million at the U.S. box office. But there's one group of fans who are having none of J.J. Abrams' continued retooling of the franchise. Perhaps the most important group of fans, considering that this was a Star Trek film: Trekkies. (Or Trekkers, if you find the term "Trekkie" offensive. Whatever.) This week, legions of fans dressed in 23rd and 24th century costumes assembled in Las Vegas for the Star Trek 2013 Convention, and at one panel they collectively voted to rank all 12 Trek films from best to worst. Guess what film came in dead last? Star Trek Into Darkness.
And you know what? We here at Hollywood.com agree with that. Star Trek Into Darkness is a glossily shallow overhaul of Trek mythos that pays trivial lipservice to fans (ooh, a model of the NX-01 Enterprise? That means J.J. &amp; Co. are just as big fans as we are, right? Wrong!) while striving to become some kind of machine-tooled Bourne knockoff with sci-fi trappings. While other filmmakers, especially those working for one Marvel Studios, increasingly recognize the power of going for a deep cut into geeky mythology that fans will love and bandwagoners will subsequently educate themselves about, Abrams opted for a full-scale whitewash. You get a sense that the filmmakers were so concerned about making Star Trek Into Darkness "cool" that they forgot to make it good. Here are 12 reasons why we agree Star Trek Into Darkness is the all-time worst Trek film.
1. Because The Klingons Have Never Looked Worse — No, I'm not talking about the acting of the thesp who played the Klingon who interrogates Uhura. I'm sure he has skills. I'm talking about the absolutely horrendous makeup job the Star Trek Into Darkness team gave him. Suddely Klingons have forehead ridges that extend around the back of their heads and curl around the ears as if they're cousins of the Ferengi? Abrams' reboot is supposed to rewrite the history from the early 2030s on...not alter the very genetic structure of one of the franchise's most iconic alien species! But that wouldn't even be so bad if the makeup in question didn't look like it was made of plastic.
2. Because Qo'NoS is Just an Irradiated Wasteland — Yeah yeah, I know, Khan only hid out in a part of Qo'NoS that was an irradiated wasteland. But why not show us at least as much of that planet as The Next Generation did 20 years ago? Khan obviously hid out in a dead zone just so Abrams &amp; Co. wouldn't have to engage in any meaningful worldbuilding.
3. Because There Is Absolutely No Reason Why Carol Marcus Should Be in the Film Or Why Alice Eve's Character Should Even Be Carol Marcus — Marcus was established in Star Trek II: The Wrath of Khan as not just one of Kirk's old flames, but someone with whom he felt he could have a child. Not only are there no such sparks between Kirk and Marcus in Into Darkness, she has nothing to do, period. She places herself onboard the Enterprise so that she can investigate the 72 long-range torpedoes her father has installed aboard the ship. We see her scanning them and she helps McCoy disable one, sure. But she's really just there so we can see her in lingerie. I mean, Trek has given us plenty of eye candy before — but rarely so gratuitously and pointlessly. Seven of Nine wears a skin-tight catsuit...but she's also just about the best character on Star Trek: Voyager, the Spock to Capt. Janeway's Kirk, and their relationship defined the heart of that show. What does Alice Eve's Marcus really add?
4. Because Uhura's a Less Progressive Character in 2013 Than She Was in 1966
Paramount Pictures
When Star Trek first aired, Nichelle Nichols' Uhura was a competent professional who was defined by her intelligence, her skills, and the ambition that saw her serve aboard the bridge of a major Federation vessel. By Star Trek Into Darkness, however, Zoe Saldana's Uhura is defined entirely by her romance for Spock. Not to mention that unlike most other incarnations of Trek, Into Darkness doesn't even pass the Bechdel Test.
5. Because Actually All the Characters Are Reduced to SNL-Parody Versions of the Themselves — Bones is an ornery quote machine. Chekov has difficulty with v's. Kirk's a reckless horndog. Screw logic, Spock's really just wanting to slug somebody. These aren't characters anymore. They're types.
6. Because Abrams Felt He Needed a Star Wars-style Canyon chase — We get it, J.J. We really get it. You like Star Wars more than Star Trek.
7. Because, Um, Why Would a Starfleet Admiral Want to Utilize the Skills of a 300-Year-Old Cryosleeper? —The idea of Peter Weller's Admiral Marcus wanting to have Khan build a new generation of ships and weapons for the Federation to fight the Klingons would be like if we decided to revive Horatio Nelson to help us build up our 21st century Navy. Maybe he'd know something about tactics, but he'd definitely need a years-long technological refresher course.
8. Because the Story of an Evil Admiral Betraying the Federation's Values While Pursuing Its Security Has Been Told So Much Better Before — See Star Trek VI: The Undiscovered Country, the "Homefront"/"Paradise Lost" two-parter from Deep Space Nine, and the much-maligned, but sorely underrated, Star Trek: Insurrection for better examples.
9. Because the Special Effects Are as Ugly as Gagh — Somehow the epic space battles in Star Trek: Deep Space Nine were the apex of computer-generated special effects and it's all been downhill since. Abrams is trying to go for the handheld, caught-on-the-fly space battle approach of Battlestar Galactica, but he has none of the appreciation for impressionistic action that showrunner Ronald D. Moore brought to that series. (Oh yeah, Ronald D. Moore also served as an EP on Deep Space Nine.) It just makes the effects Abrams does have look cheap and like he's trying to cover them up with slight of hand.
10. Because It Just Becomes a Silly "Greatest Hits" Album of a Movie — You get the sense of little kids reenacting their favorite movie scenes with action figures. This time, though, Kirk has to die, and Spock gets to shout "Khaaaaaan!!!" Except that when Spock died, Kirk had to spend an entire movie to bring him back to life, and sacrifice the Enterprise, his Starfleet career, and his son's life in order to do it. You know, stakes. When Kirk dies there are no stakes, and a Tribble can revive him five minutes later. If Abrams can't take his own movie seriously, why should we?
11. Because San Francisco Is Destroyed and No One Seems To Care — Man of Steel may ultimately have one-upped Into Darkness in terms of destruction porn, but San Francisco still got pummeled pretty bad when Khan crashed the USS Vengeance into Starfleet Headquarters, destroying much of the city with it. Also, though Roberto Orci may claim they didn't want to cast an actor of Middle Eastern or South Asian descent as Khan to avoid stereotyping those regions' ethnic groups, why did they turn Khan into the 23rd century equivalent of a 9/11 hijacker?
12. Because There Is a Fake Khan and There Is a Real Khan — I leave it for you to determine which is which, though there is obviously only one right answer.
Paramount Pictures
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If you were on Twitter last night, chances are you saw a whirlwind of tweets about Syfy’s latest super realistic movie, Sharknado. Unfortunately the Jaws meets Twister flick, did not deliver in the ratings — hooking only 1.4 million viewers Thursday night.
Now let’s compare that with some of Sci-Fi’s other ceinematic masterpieces, shall we? 2010′s Sharktopus snagged 2.5 million viewers, 2011′s Mega Python Vs. Gatoroid rustled up 2.4 million and last year’s Piranhaconda bit off 1.8 million. Sharknado even fell flat when compared to the far less movie Chupacabra vs. the Alamo, which gained 1.5 million viewers earlier this year.
Even though the movie didn’t snag a ton of viewers, the Tara Reid flick did shatter Syfy’s Twitter records. Syfy says the online feeding frenzy peaked at 5,000 tweets per minute and broke the network’s social media records. Yikes! According to EW, Sharknado gained 387,000 total tweets, mearly 2,500 tweets shy of tying with the Game of Thrones infamous “Red Wedding” episode.
Wanna see all the unrealistic nonsense for yourself? Syfy will air an encore of Sharknado Tursday, July 18.
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You're not afraid of the dark, are you? I hope not, because Riddick is back, and I wouldn't want to be on his bad side when the lights go out. Nine years after the release of The Chronicles of Riddick, the franchise returns with a third installment, Riddick. Star Vin Diesel reprises his role as Riddick, a dangerous, escaped convict wanted by every bounty hunter in the known galaxy. In the new film, Riddick has been left for dead on a sun-scorched planet, but bounty hunters soon come looking for him (bounty hunters are always looking for him). The movielooks like it's going to stick to the tried and true device of having Riddick make the universe's toughest bounty hunters look supremely incompetent, but that's why we love these films. There are also going to be some scary alien monsters trying to kill everyone (also why we love these films).
We'll also see Karl Urban (now of Star Trek fame) return as Vaako. New to the series are Jordi Molla (Bad Boys II, Colombiana) as Santana, the arrogant captain of the mercenary ship; Matt Nable (Killer Elite) as Boss Johns, a man looking for answers; Katee Sackhoff (TV's Battlestar Galactica) as the Nordic mercenary Dahl; and Bokeem Woodbine (Total Recall) as bounty hunter Moss. Everyone's got some experience with sci-fi and/or action films, so Riddick looks like it's going to kick as much ass as it's predecessors.
Riddick is scheduled to hit theaters on September 6. Go see it so that it kills at the box office, because remember, you keep what you kill.
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This article contains mild spoilers for The Host.
Underneath The Host's schmaltzy romance and blinding shine of silver sports cars lies a challenging theme of identity and existence, both Earthly and beyond. The concepts are deepened with a little background information: the movie is based on a book of the same name by Stephenie Meyer, best known for penning the Twilight series. Meyer is also one of the most successful authors to come out of the Mormon faith. Viewed through a lens of the uniquely American religion, The Host ends up more of a refraction of those beliefs than anything found in her vampiric romance saga.
Some connections are superficial: in the film, the human race is taken over by body-snatching aliens and forced to go into hiding. The "resistance" dwells in caves, living off their stored food and underground fields of wheat. The world of The Host may revolve around a doomsday scenario, but it bears striking resemblance to the Church of Jesus Christ of Latter-day Saints. Most notably, the Church practices food storage and the image of grain features prominently in The Book of Mormon (according to Robert R. Bennett of the Maxwell Institute for Religious Scholarship, there are more than 28 references to grain in the Book of Mormon). Meyer tells us that it was Host director Andrew Niccol who pushed for the inclusion of wheat because he "really liked the visual" and that any LDS connection is total coincidence. But even persons of the Mormon faith see the roots of her science fiction tale.
"There were many LDS/Mormon overtones on gender and race embedded in the Twilight series, but The Host seems more connected to to the Mormon faith to me," says Joanna Brooks, a senior correspondent for Religion Dispatches. According to Brooks, The Host's broader strokes — from the alien "Souls" (terminology from Meyer's original text) entering the body of humans to the possible interplanetary afterlife suggested by the film's conclusion — explore foundational Mormon doctrine.
Brooks notes that Mormon theology teaches that before the souls of human beings come to this life, spirits live in a preexistence with God. She describes it as a "pre-heaven." But in that time before life on Earth, one-third of the souls that "pre-existed" were cast out of the presence of God and followed Lucifer instead of finding bodies on Earth. There have also been suggestions that the slighted souls attempt to intervene with the affairs of the world. "Sometimes, you will hear as folk doctrine, the idea that this one-third are so envious that they will try and take over," Brooks says. "But the teaching that there were a large number of spirits that never made it to Earth who might like to is actually doctrine."
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The blurry line between doctrine and Mormon folklore, a visible sign that the 19th century religion continues to evolve, is at the heart of The Host. In the end of the film, the main character Wanda (an alien inhabiting the body of a human woman, Melanie) decides to opt out of being transplanted to a spaceship and sent to another planet, choosing instead to be removed from Melanie's body and "die." This strikes Brooks as a reference to Kolob, the thing closest to the dwelling place of God. It's another Mormon story that has slowly become myth in the grand tapestry of beliefs. Other Mormon writings took the concept a step further — and sound more like the basis of The Host. "Even our most speculative theologians in the 19th century inferred that there could be other universes where other divine beings with a parallel to God may also have dominion," Brooks says. "A cosmological consciousness is part of the Mormon tradition."
Meyers isn't the only Mormon science fiction writer to look to her religion for inspiration. Nathaniel Givens, blogger for popular Mormon site Times And Seasons, cites Ender's Game author Orson Scott Card, who reworked the history of Joseph Smith, founder of Latter Day Saint Movement, for his book The Seventh Son, and touches on Mormon themes in the Ender's sequel Speaker for the Dead. Other prominent Mormon sci-fi writers include Glen A. Larson, whose show Battlestar Galactica includes a place called "Kobol," and fantasy author Brandon Sanderson, who took over the poplar Wheel of Time series. For Givens, The Book of Mormon, unlike other religious texts, considers all sides of the universe, creating a faith that nurtures science fiction writing.
"Since Mormonism also makes doctrinal claims that go well outside of most religions (for example, about what happens before and after this mortal life) and also has long believed in compatibility between science and religion, the direction that Mormons take with their individual speculation is very compatible with sci-fi," Givens says. The blogger points to American sci-fi writer Pamela Sargent, who described science fiction as "the literature of ideas," and believes that a large part of Mormon practice is working out big ideas that have to do with how we got where we are and where we might get where we're going. "If Mormons want to try and dig deeper and understand the meaning behind or connections between elements of official Mormon doctrine, then that becomes sort of their own responsibility," he says. "So there's just this deep culture of amateur theology in Mormonism; we spend a lot of time just trying to figure out how things might work, theologically."
Givens notes that he does not believe either Meyer or Scott Card depict things they already believe, aligning with Meyer's retort that The Host isn't an overtly Mormon film. There's a presumption to how faith-based works operate — a "preachy" film can steer larger audiences away — and that's not The Host. Instead, Meyer's adaptation takes a stab at considering, challenging, and working out Mormon ideas. "It's all about questions, not answers, and Mormonism is a religion that — in terms of structure — tends to create a lot of questioning people," Givens says. "It also creates a lot of very conformist people, too, don't get me wrong. That's just a tension that exists within the community."
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A speculation-friendly religion is bound to divide, both between sects of believers and those on the outside looking in. As a successful Mormon figure, Meyer has come under predictable heat, and Givens says he knows just as many Mormons who are proud of Meyer's success as there are naysayers of her work. He says that the "Mormon depiction" in Twilight has caused issues with the perception of members of the faith, painting them as "sex-obsessed." On the other end of the spectrum is scrutiny over Meyer's ability to be a progressive fiction writer and commit to her faith. In a recent article, Brooks defended Meyer's ability to be a Mormon feminist, equating her with Harriet Beecher Stowe in her ability to employ saccharine drama and still tell deeply involved, human stories. Add that all to the science fiction of The Host and you have a layered individual that seems to exemplify what Mormonism strives to be about.
For Givens, sci-fi ruminations like The Host, that wrestle with the oldest ideas of Latter-day Saints, don't interfere with the ability to take Mormon doctrine seriously. To him, a work like The Host can live side by side with The Book of Mormon. "I think that the historical claims of the religion are actually very important," he says. "I understand that there are a lot of Mormons who, for example, would like to value and treasure The Book of Mormon as a purely spiritual document without actually believing the stories it tells or the idea that there were really gold plates that Joseph Smith translated. I respect that, but that's just not my position. And, for me at least, I don't think that the sci-fi causes problems on that level."
Givens also acknowledges the tension created by the difficulty Mormonism faces when being accepted by modern thought. But he doesn't believe that a movie like The Host pulls the carpet from under believers. Meyer may try to keep her faith-related questions out of the publicity circle, but even if her work is perceived by audiences as religiously rooted, introducing the questioning can be positive. "It's hard to carve out a kind of literal idea of the sacred in this current culture, and I think that's also a tension that you see Mormon authors working out in their work," he says. "So, for me at least, I think the tension just spurs more creativity and art, rather than necessarily detracting from the faith."
For Brooks, Meyer spins stories from Mormon faith with the right sensibilities: part traditional, part imaginative. "One of the defining features of Mormon culture is that we are exceptionally pragmatic," she says. "This comes from our roots in the rural west and our penchant for large families. At the same time, we are a people with an extremely rich speculative theology. To live with that balance is to be a Mormon."
Follow Matt Patches on Twitter @misterpatches
[Photo Credit: Open Road]
Additional reporting by Jordan Hoffman
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It's hard out here for a ginger, you guys. Take it from me, Hollywood.com's Resident Redhead and pusher of all things ginge. And that's because, throughout this modern world in which we live, there is no one hair color more maligned than that gleaming, glorious orange hue. There are a lot of misunderstood gingers out in the world — just look at that MIA video where she kills a whole bunch of 'em! And I know that Carrot Top didn't help our cause, either. So what are we left with? Well... quite a lot, actually.
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Being that this weekend marks Saint Patrick's Day — a holiday typically associated with the crimson craniums, thanks to their propensity for Irishness —it seems fair to re-examine the best and the worst of gingers throughout pop culture. There's more to our kind than just Lindsay Lohan and Emma Stone (though they're definitely two of the worst/best out there), and they're making waves out there in the world!
And that's because being a ginger means you're automatically going to stand out in a sea of blonde and brunette — and with that attention comes power: a power a ginger must learn to wield wisely, lest he or she certain defeat (or in the very least, swirlies) out in the world. It is our red cross to bear, and it means that each and every ginger out in the wild is held to a higher standard.
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Check out the ladies and lads that have made names for themselves as the best (and sometimes, worst) gingers of all time. Some of them even have the luck o' the Irish on their side. Erin go bragh!
Gallery: The 16 Best and Worst Pop Culture Gingers
Follow Alicia on Twitter @alicialutes
[Photo Credit: Joe Alvarez]
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Synopsis

The humans of Kobol have maintained peace for decades with Cylons, robots built by humans but with enough intelligence to overtake their creators. When the Cylons attempt to annihilate the humans, a small remaining human faction on the last Battlestar, led by Commander Adama and President Laura Roslin, hope to outrun the pursuing Cylons in the Galactica and reach humanity's origin, Earth.